I've been Lindy Hoppin' since 2006, I think. It comes from a long time impulse to want to do partner dancing but not having the love for the music. I've enjoyed jazz for a while, but I didn't know about the Lindy Hop subculture at all, let alone how extensive it is. Most Lindy Hoppers hypothesize that there is at least one Lindy Hopper in every town (and it's probably true).

For me, the link between art and Lindy Hop is a rhythm thing. I think of the best dancers as kinetic sculptures that come alive with the right song, e.g. Mike Faltesek and Nina Gilkenson dancing to "Ochi Chornya" by Wingy Manone.

Kim Salinas is now on the roster for Flatline. Check out her work at her main site and on her blog.

On every level, her work tends to develop like a snake eating its own tail. She is constantly devouring new motifs, obscuring them within a painting, pulling them out again. My favorite pieces of hers are acts of self-destruction made static, and Meat and Knitting is right up there. With Salinas's work, you can always expect rapid change and surprising imagery.

Here's a small clip from a longer interview taken at my last solo exhibition. Jason Hoelscher is the interviewer here.

Only a few weeks away from its initial inception and Jason and I have got about a third of our lineup confirmed. We're expecting to have 10-20 artists participating in the show. Here are the first five, excluding me.

Jason Hoelscher is co-curator of Flatline. His work is a mash-up of logo design, dry wit, geometry and psychedelica. You can check out his website here.

Charles Clary's complex biomorphic abstractions made of carefully cut and layered paper become a world of off-kilter color relationships and musical play. Have a look at his blog.

Vitor Mejuto's paintings encompass a variety of compositional styles from complex curvilinear designs to more simple geometric constructions and everything in between. His website has an extensive archive of his work.

Connie Goldman's works look like drop-shadow designs done in photoshop, but the canvases and panels are actually multi-layered. Her site displays a range of constructions and compositions.

I've been juggling on-and-off since around 1997. It's a simple fascination with pattern, repetiton, and rhythm. I can't be sure, but I think this has to do with the elements that drive my art. At my level, juggling is a technical activity and will remain so. I will never be good enough at juggling to bring the technique up to the level of art, but there are people who do this (side note--watch on mute, the music is lame):

The way that Falco Scheffler, the juggler in this video, juggles reminds me of the way that Durer's technique pushed the limits of what can be represented in an engraving. Having been nose-to-paper with a print of "Adam and Eve", I'd have to say that there is not a single misplaced mark in the print. Watching someone like Scheffler, I get more of an aesthetic pleasure than I normally would while watching jugglers.